3. Ibid. p. 36, 29 Meib.: [Greek: tôn de systêmatôn tas diaphoras hoi men holôs ouk epecheiroun exarithmein, alla peri autôn monon tôn heptachordôn ha ekaloun harmonias tên episkepsin epoiounto, hoi de epicheirêsantes oudena tropon exêrithmounto.] For [Greek: heptachordôn] Meibomius and other editors read [Greek: hepta oktachordôn]--a correction strongly suggested by the parallel words [Greek: systêmatôn oktachordôn] in the first passage quoted. 'Some did not attempt to enumerate the differences of the Systems, but confined their view to the seven octachord Systems which they called [Greek: harmoniai]; others who did make the attempt did not succeed.' It appears from these passages that before the time of Aristoxenus musicians had framed diagrams or tables showing the division of the octave scale according to the Enharmonic genus: and that a certain Eratocles--of whom nothing else is known--had recognised seven forms or species of the octachord scale, and had shown how the order of the intervals in the several species passes through a sort of cycle. Finally, if the correction proposed in the third passage is right, the seven species of the Octave were somehow shown in the diagrams of which the first passage speaks. In what respect Eratocles failed in his treatment of the seven species can hardly be conjectured. Elsewhere the diagrams are described by Aristoxenus somewhat differently, as though they exhibited a division into Enharmonic dieses or quarter-tones, without reference to the melodious character of the scale. Thus we find him saying--. _Harm._ p. 28 Meib.: [Greek: zêtêteon de to syneches ouch hôs hoi harmonikoi en tais tôn diagrammatôn katapyknôsesin apodidonai peirôntai, toutous apophainontes tôn phthongôn hexês allêlôn keisthai hois symbebêke to elachiston diastêma diechein aph' hautôn. ou gar to mê dynasthai dieseis oktô kai eikosin hexês melôdeisthai tês phônês estin, alla tên tritên diesin panta poiousa ouch hoia t' esti prostithenai.] 'We must seek continuity of succession, not as theoretical musicians do in filling up their diagrams with small intervals, making those notes successive which are separated from each other by the least interval. For it is not merely that the voice cannot sing twenty-eight successive dieses: with all its efforts it cannot sing a third diesis[1].' [Footnote 1: This point is one which Aristoxenus is fond of insisting upon: cp. p. 10, 16 [Greek: ou pros tên katapyknôsin blepontas hôsper hoi harmonikoi]: p. 38, 3 [Greek: hoti de estin hê katapyknôsis ekmelês kai panta tropon achrêstos phaneron]: p. 53, 3 [Greek: kata tên tou melous physin zêtêteon to hexês kai ouch hôs hoi eis tên katapyknôsin blepontes eiôthasin apodidonai to hexês].